January 21, 2025 • 41 mins
This episode of Inside The Mix breaks down the myths surrounding financial success in the music industry and reveals how aspiring audio professionals can thrive.
My guest, Eliott Glinn, shares invaluable insights on how to start your own music business with a focus on developing a success-driven mindset, mastering content creation, and using smart strategies for client retention. Together, we explore how to create a sustainable music career by balancing creativity with effective business strategies.
Discover the fastest way to generate leads as Eliott dives into practical techniques for building authentic industry relationships, creating impactful content, and standing out in a competitive market.
Whether you're a producer, engineer, or music entrepreneur, this episode provides essential tools to break free from the "starving artist" mindset and transform your passion into a profitable career.
What You'll Learn:
• Challenging the myth of the starving artist
• Importance of a business mindset in music
• Effective lead-generation strategies
• Creating sustainable content that resonates
• Key communication practices for client retention
• Building authentic relationships in the industry
• Navigating competition with collaboration in mind
• Final insights for a thriving music career
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Thanks for listening!!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Neon Highway (00:00):
Hi, this is Neon Highway.
I've just been listening toepisode 175 of Inside the Mix
podcast.
Incredible tips from both Markand from Tim aka IL9.
Just phenomenal breakdowns ofwhere to use things like reverb
(00:21):
and delay.
Personally, I've been usingthis since, watching that
episode and listening to thatepisode, putting it into
practice in the mix andinstantly I'm finding that the
mixes are so much clearer.
Eliott Glinn (00:33):
So I just wanted to say thank you guys for for
that information slip in a fewvideos here and there which show
your expertise as a mixengineer.
You know how I turned a songfrom this to this.
You know how I made a vocalshot.
You know that's great, you canpepper those in, but don't make
the content that you'd want tosee.
Make the content that yourideal client would want to see.
Neon Highway (00:55):
You're listening to the Inside the Mix podcast
with your host, Mark Matthews.
Marc Matthews (00:59):
Hello and welcome to the Inside the Mix podcast.
I'm Mark Matthews, your host,musician, producer and mix and
mastering engineer.
You've come to the right placeif you want to know more about
your favorite synth musicartists, music engineering and
production, songwriting and themusic industry.
I've been writing, producing,mixing and mastering music for
over 15 years and I want toshare what I've learned with you
(01:21):
.
Hello, folks, and welcome backto the Inside the Mix podcast,
or welcome if you are a newlistener.
Today I'm joined by a specialguest, elliot Glynn, a talented
mixing and mastering engineerbased in West London, so a
fellow Englishman on the podcast, which actually is going to be
(01:41):
the first.
I know I tell a lie, I tell alie.
We had one before the new year.
He's built a thriving remotebusiness collaborating with
artists worldwide to transformtheir recordings into powerful,
emotive mixes they can be proudof.
Elliot, thanks for joining metoday.
How?
Eliott Glinn (01:55):
the devil, are you ?
I'm doing really well, mark.
Thank you so much for having meon and, yeah, excited to chat
to you today.
Marc Matthews (02:00):
Yes, that to you today.
Yes, yes, I know we appear, asI do with all these episodes, in
these interviews.
I always put these uh schedulethese interviews quite far in
advance, so it's been a longtime coming, probably three or
four months, I would say.
So, yeah, I'm looking forwardto this one, some really
interesting stuff in thisepisode which I'm going to go
through in a minute, which isgoing to help the listeners, the
audience, really kick on in2025.
So a bit about elliot.
(02:21):
Here is a professional mixingand mastering engineer, if I've
mentioned, with a passion forboth audio excellence and the
business strategies behindrunning a successful music
career.
Beyond the technical side,elliot helps other engineers and
producers build systems to growtheir businesses, and we were
chatting about systems justbefore.
We started recording, from leadgeneration and content creation
(02:42):
to effective workflowmanagement.
We started recording from leadgeneration and content creation
to effective workflow management, and in this episode, elliot's
going to share tips andstrategies to help you kickstart
your music business in 2025.
Or, if you're listening to thisin the future, whatever year
you're in, because, yeah, it'salways going to be there, it
should always apply.
Yeah, exactly yeah, it willalways apply.
(03:03):
It's not just specific to 2025.
Yeah, exactly yeah, it willalways apply.
It's not just specific to 2025.
So, elliot, you've built asuccessful remote mixing and
mastering business for producersand engineers looking to start
or grow their side hustle in2025.
Or maybe they just want to gostraight all in with it
altogether.
Can you talk about some of themost important mindset shifts
they need to make?
Eliott Glinn (03:25):
Yeah, there's probably two main ones that I
see all the time when I talk topeople about this, and they both
revolve around money.
The main one is that a lot ofpeople seem to think and I think
this comes from their family ortheir friends saying it that
there isn't any money in music.
It's quite a typical limitingbelief people have, which is
obviously a lie, because there'sthousands, hundreds of
(03:46):
thousands of people making aliving from you know, directly
from music.
Whether that is writing,recording, mixing, mastering,
you know, any kind of avenue yougo down, there is money to be
made.
There is people because it's ahobby.
A lot of us start this out as ahobby and we something really
(04:06):
enjoy doing on our spare timethat people feel bad charging
for their services because theyfeel like, well, I'll be doing
this anyway, it's a lot of fun,and there's a lot of kind of
issues around the mindset ofcharging and pricing your
services appropriately.
So if it is something that youplan on doing is trying to make
this a full time gig or evenjust you know some side income
really trying to make this afull-time gig, or or even just
you know some side income,really trying to get your mind
(04:27):
set around the fact that this isa business, you can make money
from it and you should becharging a fair rate for the
service that you provide verygood.
Marc Matthews (04:35):
So you mentioned music in the music, money in
music and the generalmisconception that there is no
money in music.
Have you got an idea why?
Like one of the main reasonswhy maybe someone from the
outside looking in would thinkthat way?
Eliott Glinn (04:49):
yeah, I think I mean there's this prevailing
myth of the starving artistisn't there, and I think that
applies for not just music,applies for any kind of arts
like actors and and painters,and you know, there's the myth
that you need to struggle foryour art and you need to be poor
and like work your way up andit's just really not the case
and obviously, like with anykind of skill and any kind of
business, it takes some time toget to a point where you're
(05:11):
profitable and you're doing youknow, pulling in the right
clients or making the right kindof money.
But it just I think it comesfrom that lack of it being seen
throughout school as a kind ofviable career option.
Through school you're alwaystold you know kind of, do maths,
english science, do somethingbusiness or accounting or that
kind of stuff you know, and it'svery rare that you're you're
(05:31):
pushed in school being like youcan make, you can make music or
arts, your career.
Um, I think that's where itlets a lot of people down and
then that kind of you knowfesters in your brain for all
throughout the rest of your lifeand a lot of people are
probably sat at home thinking,yeah, no, there's no money in
music, but I do this full-time.
I know so many people that doyou know, make full-time income
from from making music.
So it's, it's totally doableyeah, most definitely.
Marc Matthews (05:54):
It's just being a full-time creative is certainly
doable.
And, going back to what yousaid there about the in school
and career pathways and havinghaving come from being a teacher
myself and working in a school,no longer doing it now and it's
unfortunate because what echoeswhat you said there is that
generally, when there is budgetcuts or there aren't enough
(06:14):
teachers to fulfill positionswhich invariably does happen in
the UK and probably across theboard the creative subjects are
generally the ones that are cutfirst in favor of like you said,
math, science, english whichI'm not knocking those,
obviously you, we need to be amaths and english and and
science and whatnot.
But yeah, generally the creativeones are knocked first.
(06:35):
And I remember when I was, uh,living in cardiff and I was, I
was in a house share and this isgoing back many years now and I
was doing a master's degree inmusic, engineering and
production and I had a housemateand I was doing my my years now
and I was doing a master'sdegree in music, engineering and
production and I had ahousemate and I was doing my
master's degree and I wastalking about how I was working
in a primary school and I wasjust teaching these kids how to
use reason and producing reasonand primary school kids.
(06:58):
I realized at that point,trying to teach them how to use
reason.
My God, I never wanted to stepinto a primary school again.
Anyway, he I remember him saidto me and his exact words were
why would they want to learnabout music?
And I was just like what areyou talking about, mate?
And it was, it was, it was verymuch an outsider's perspective
and that was his exact, hisexact mentality.
He's like they're not going toget anything out of that, why
(07:18):
would they want to learn aboutit?
It's crazy yeah, it's.
Eliott Glinn (07:21):
It's really sad that that is the prevailing
thought around this stuff andand, like you say, it goes all
the way to the top, all the wayto.
You know the um in government,the way they set the kind of
things that are taught in school.
It is this belief that, okay,it's nice, you can do that on
the side, it's a bit of fun, andyou should obviously be
creative and enjoy it.
But to make money and have aliving you need to do this other
(07:41):
stuff and um, I also worked inthe school for a number of years
as a music technician and theamount of kids that loved music
and got so much joy andenjoyment out of doing it.
They used to come in theirlunch and breaks and before and
after school into the practicerooms to play and you'd see them
come alive, and these were thekind of kids that probably in
other academic classes weren'tdoing so well.
(08:01):
But music was like a safe haven,and I know that was a similar
thing for me growing up as well.
I was dyslexic in school.
I struggled with the kind oftraditional math, science,
english, but music was all itjust clicked, and so being told
from a young age that, oh, thisis not something you can do.
You should do something else isvery damaging, I think.
So yeah, it's a myth that I'dreally like to bust.
Marc Matthews (08:21):
Yeah, most definitely.
And, like you mentioned thereabout being in the industry
itself, there is money to bemade out there and obviously the
industry does change and itpivots and it moves with regards
to, like, the current climate.
Ai is a big one, for example,of course, and you've got to
find out where you can maneuverwithin that, but there is, you
can do it.
I mean, it's crazy that peoplethink that you can't.
(08:42):
And also the creative economydoes contribute millions upon I
don't know the figure- it's hugebut, millions to the uk and
obviously economies abroad aswell.
Eliott Glinn (08:51):
So to say that there isn't money in it is, it's
crazy yeah, that's it, and Ithink a big part of it as well
is probably the old belief aswell about um, you know, record
labels, holding all the moneyand being in charge and stuff,
whereas now there has never beena better time to be a creator,
like you say, whether that ismusic or video, whatever it is
you're doing, because you youcan garner an audience like that
(09:11):
.
You know it does all it takes isjust a little bit of graft and
consistency and you can get anaudience where you earn enough
money to make a living from, andand you don't need outside help
from a label or from managementor things like that.
You can do it yourself, um, andthe skills you can learn to do
it as well.
So most definitely.
Yeah, it's one of those thingsthat I don't think there's been
a better time in history to totry and you know, make a living
(09:33):
from music.
Marc Matthews (09:34):
Yeah, it reminds me of a conversation I had
probably about a year ago on thepodcast with uh and a chap
called jesse k from the newagency, and he he put it quite
nicely.
He said it's now the case ofthe the tail is wagging the dog
in terms of the artist havingthe power now to be, to have
more control over their creativeintellectual property,
(09:54):
essentially, which I thought wasgreat.
Yeah.
Eliott Glinn (09:58):
I couldn't agree more.
Marc Matthews (09:59):
Yeah, most definitely.
Moving on to our next topichere, so we've got lead
generation strategies, so we'rethinking about growing our side
hustle, or maybe we're going allin with our music business.
Whatever it may be, a lot ofpeople in the industry struggle
with finding consistent work, socan you tell our audience about
some lead generation strategiesyou've used effectively, and
(10:21):
how can someone just startingout begin building a client base
?
Eliott Glinn (10:25):
Yeah, it's a really great question and, like
with a lot of these things,there's a ton of nuance.
But I have tried so manydifferent things over the years
to try and generate leads andbuild this business, but it
always has fallen back to just asimple kind of two pronged
approach and that is content,creating content and having
conversations.
So with those two you can makethis business work.
(10:48):
So for me, a huge part of it ismaking content daily on
instagram.
Um, you know, they don't haveto be huge production videos.
They can be simple little 15second talking head videos.
They could be little loopingones that last five seconds and
you write some captionunderneath.
But it's just about puttingvalue out there, understanding
(11:08):
what your target audience wantsand what they're missing, what
information you can help andkind of position yourself as the
expert and putting yourself outthere and then letting the
algorithm kind of push thatcontent out to the right people.
But it also that then helps youhave these conversations.
So people who interact withyour, with your content, people
who follow you, people who likeyour stuff, people who you know
(11:29):
comment on everything, you canstart conversations with them
and just have conversations withfive to 10 people each day, if
you can.
That's the kind of number thatI found works well for me.
Anymore is just a bit too muchto keep on top of.
But between five and 10, justget those conversations going
with people and it's a.
It's not about trying to besalesy.
You're not trying to jump in aconversation straight away being
(11:50):
like have you got any songs youneed mixing?
I'll mix them for you.
You know that nobody likes that.
It's about building genuineconnection, finding out what's
going on with them in their kindof in their music career.
Is there something you can helpthem with outside of mixing?
If that's the thing that youwant to do, you know you could
be like send me your work inprogress, I can give you
production advice, I can giveyou tips.
You know I can connect you withsession players, producers.
(12:12):
Just be the guy or girl thathelps people, you know, achieve
what they want to achieve andthrough doing that you'll you
know you'll generate leads.
It just takes a little while.
It does take consistency, butif you do those two things you
know create content and starthaving conversations with people
you've basically got the recipefor having a successful
(12:32):
business.
Marc Matthews (12:33):
Yeah, it reminds me of the Go-Giver parable.
Eliott Glinn (12:36):
I don't know if you've ever read that book.
Marc Matthews (12:37):
Yeah, love that book you probably have, yeah,
the Go-Giver parable, which isyou just give, give and give and
give and uh, and you helpwherever possible, basically
echoing pretty much what you, oreverything you've just said
there.
Eliott Glinn (12:49):
really, when it comes to those conversations,
yeah, and that's it, because itbuilds reciprocity.
That's the whole point isyou're you're putting out this
content and but I do it dailybecause, again, it helps you
stay top of mind.
Um, and there's so so manydifferent topics I could talk
about and that through havingconversations with you know
potential, I also find outthings I can make content about.
You know, you'll see repeattopics come up again and again
(13:10):
and again.
You know, okay, that's an ideathen I can make for a video or
you know kind of how to tutorialor something like that and all
that does.
The more and more you put out,the more people link to your
name.
Oh, this guy's really helpful,he does this stuff and he's
giving and he's giving and he'sgiving and he's giving and he's
never asking for anything inreturn.
And so when it comes to thepoint when somebody's making an
EP or an album or a single,whatever it is, and they're like
(13:32):
I need a mix engineer, thenhopefully I'm top of mind and
that's the kind of general ideahere.
Marc Matthews (13:38):
Most definitely.
You mentioned there content andContent and conversations being
sort of that two-prongedapproach.
So, to devil's advocate, isthat the wrong word when you
were doing this?
Is there one approach can youthink of or can you identify
that you tried that reallydidn't sort of resonate or work
for you?
Eliott Glinn (13:53):
Yeah, a big one that I see pushed a lot is to do
an email list and do emailmarketing, and that's something
I've tried on and off numeroustimes and it's never seemed to
work for me.
I don't know why that is.
I think I was trying, you know,weekly, sending weekly emails,
sending things about you knowhow to write, how to produce,
how to mix, just covering abroad range of topics.
(14:15):
But it's really hard to grow anemail list.
You know, from social media,you have to put up things like,
you know, free lead magnets andthings like that.
And and I only ever built up tolike 100 200 people on this
email list and I never got anywork through it and I think I
sent weekly emails for about ayear with it and I just thought
Do you know what it's?
(14:35):
Just realizing?
This isn't working.
I know what is working, whichis content on Instagram.
So I'm just going to doubledown on that.
I'm just going to give up.
I think too many people try somany things at once.
So they'll try the emailmarketing, they'll try Instagram
, they'll try YouTube, they'lldo TikTok and it's just
spreading yourself thin andinstead just focus on one that
works for you.
So, like for you.
You know this podcast is yourthing, so this is what you do
(14:57):
and it and it's, and it worksfor you and Instagram works for
me.
I know a bunch of producerfriends who work really well on
youtube and so they just focuson putting out one really good
youtube video every month andthat brings in enough leads to
run their business.
Marc Matthews (15:10):
Um, instead of spreading yourself thin trying a
million different things thatdon't work I 100 agree with all
that and my I did have aquestion that was going to lead
on you've pretty pretty muchgone through it there which was
got with, which was regards tospreading yourself too thin.
And I remember when, a coupleyears ago, and I was trying to
spreading yourself too thin andI remember when, a couple years
ago, and I was trying to beomnipresent on all these
platforms and it is just sotiring.
(15:31):
It is so tiring.
I was trying to go live onInstagram yeah, I was doing
going live on YouTube and and uhand Facebook, when I was doing
podcast episodes and I hadcontent that I was posting on
each platform trying to get itout there.
And I realized it was that Iwas posting on each platform
trying to get it out there and Irealized it was really tiring
and also it just wasn't thateffective.
And then, having looked at thatand then sort of re-evaluated
(15:52):
it or reflected on it, I thenjust narrowed it down to
Instagram I'm still on the otherplatforms, but cross-posting if
it's automated, then it'll getposted and, having then narrowed
my focus, it then resulted inactually the downloads
increasing with the podcast andI found actually I was posting
less and the downloads weregoing up, which was quite
interesting, and it's still thecase now, which is amazing.
(16:13):
And what you mentioned thereabout YouTube, for example, the
podcast is on YouTube, but I'mstill toying with the idea of
actually just using the rss feedand sending it out to youtube
and not having the video format,because it would just save me
time and I can concentrate onthe audio side of things.
But there is this little thingin my head, which is that fear
of missing out that is so hardto get rid of, because I know
(16:35):
there are people that consumethe podcast on youtube and I
don't want to lose them as aslisteners, as viewers.
So a quick question withregards to that fO and fear of
missing out do you ever have youexperienced that and how do you
sort of deal and strategizearound that?
Eliott Glinn (16:50):
yeah, no, that's a really good question and it is
something I still do think abouta lot.
Like you say, you you feel likeI've I'm not on this platform,
if I'm not posting here, then Icould be missing out on
potential listeners, potentialcustomers, whatever it is.
But I think the the key part isthat self-awareness.
So you had and I've managed togo through as well, which is you
(17:10):
try all these other things, youtry a bunch of stuff and you
just kind of see in what sticksor what resonates with you,
because a huge part about doingcontent online and creating a
business online, you need to beable to do it consistently and
you're not going to do somethingyou don't enjoy or something
that burns you out consistently.
So it's realizing look, we areone-man teams, you know, or you
might have an assistant orsomebody to help you, but really
(17:31):
you're kind of a one-man band.
If we were like an agency andwe have five or ten other people
working, then maybe we could beon everything at once and you
know that that would generatemore um, more income or whatever
it is we're looking for.
But as, as a solo creator orsolopreneur, whatever it is, you
need to understand that yourenergy is finite and it can only
be put in so many places.
So try everything, give it a go, see what works for you.
(17:55):
But then, once you've kind ofdone that for a bit, just double
down on what works, forgetabout the rest and just really
really stick to it, becauseyou'll see, like yourself, you
go.
Oh, actually, just reallyreally stick to it because
you'll see, like yourself, yougo, oh, actually, I'm posting
less, but my views are going up.
How is that possible, it's like.
But you're making probablymaking better content, you're
doing better, better interviews,and you'll you'll have far more
energy, spending less timedoing things that don't move the
needle.
Marc Matthews (18:15):
Um, so yeah, it's kind of a win-win yeah, exactly
that, and it I do need to withit.
With regards to youtube, Istill want to have that presence
on youtube because I do havegood engagement on there, but I
know if I didn't do the videoelement of it, I could then
recoup that time and then putthat into, as you say, the
actual production of the audioside of things and then the
interviews and whatnot and justeverything else that goes with
(18:37):
it.
So I need to sort of likepractice what I preach really
with regards to that.
You know it's a real tough one.
It is, it really is.
It is tough to do but I thinkyou really do need to do it.
And again, this is kind ofanother um, sort of tangent I'm
going down here and that is also, I think, can be reflected in
(18:58):
in terms of a service that youoffer.
So this isn't in the in theactual itinerary we've got for
this episode, but it just it'sin the back of my mind here.
So, with regards to, like,services that you provideary
we've got for this episode, butit's in the back of my mind here
.
So, with regards to servicesthat you provide, obviously
we've got mixing masteringproduction for yourself Would
you sort of recommend a similarapproach when it comes to
providing services as a mixingmastering engineer, producer
(19:20):
that FOMO, try not to provideeverything and maybe narrow down
on a particular avatar, as itwere, 100%, and again, it's one
of these things that you need totry and you need to test the
waters and experiment with, findwhat you enjoy most.
Eliott Glinn (19:34):
But, like a lot of people, I came up doing
recording, doing production,trying to do everything, and it
was only after years ofexperimenting and trying
different stuff I realisedmixing is for me, it's the thing
I love doing the most.
It's where my skills and myinterests, you know, overlap, um
, so just, I doubled down onthat and I see people who are
successful in music creation.
(19:56):
I see them niche down to doingjust one thing, whether it be
production, whether it be mixing, whether it be mastering.
Obviously there can be overlap,like I do do all three, but my
main thing is mixing andmastering, and production are,
you know, the kind of peripheralthings.
But yeah, absolutely, find theone thing that you enjoy doing
the most and just stick to that,because it's like you know,
(20:16):
I've heard this analogy usedbefore, but you wouldn't kind of
go to a gp, um doctor to getheart surgery because, yeah,
they're a general practitioner,they know all of this.
You know a lot of generalpractitioner, they know all of
this.
You know a lot of generalknowledge about a lot of stuff,
but when you want something doneright, you go to somebody who
does just that.
You know you don't want to putyour, your life in in somebody
(20:37):
else's hands who's not uh, youknow an expert and I think
positioning yourself as anexpert, in whatever field it is
you choose to do is, is a realkey thing in terms of building a
good business.
Because if you go on someone'sinstagram and it says I do vocal
editing, vocal tuning,recording, mixing, mastering,
like podcast production, youknow all of that stuff it's just
overwhelming and somebody'sgoing to look at it and go are
(20:59):
they going to treat my projectwith the care it needs?
Whereas if you go to someonewho just does mixing or just
does mastering, it's reallyclear what they do.
You're, you're showing yourselfas an expert and it's a lot
easier for somebody to kind ofpull the trigger it's clarity,
isn't it what you mentionedthere about being clear, uh, as
to what they do?
Marc Matthews (21:18):
and in my head again, I'm thinking I've gone on
websites before and, much likeyou said, there, you go on there
and it's just a shopping listof services that they provide.
I'm thinking, well, okay,you're there, you go on there,
and it's just a shopping list ofservices that they provide.
I'm thinking, well, okay,you're mixing, you're mastering,
but then you're also doingpodcast editing, you do podcast
production.
It's just like sure.
I mean, you may have all thetime to be able to do that, but
can you really say that you arethe expert not necessarily the
(21:41):
expert, but yeah, I guess, yeah,have that expert position in
that particular remit.
So, yeah, excellent stuff,elliot, excellent stuff.
So, in the interest of time,because I realize we're already
at 20 minutes and I've only twoquestions, in this always
happens, so we're going to nowmove on to content creation for
visibility.
So we've already touched onthat a little bit.
With regards to you, say,you're putting out content and
(22:02):
the approach you take, so canyou share how you approach
content creation and howproducers can use it to
establish credibility andattract potential clients?
I think as part of this as well, because I think it can get
quite overwhelming thinking thatyou have to post every day, or
you have to post at certaintimes of the day, or what have
you, which I think is amisconception.
But yeah, maybe you could talka bit about your establishing
(22:26):
credit, credibility and yourcontent creation approach yeah,
it's, it's what you mentioned.
Eliott Glinn (22:30):
There is crucial, I think, to content creation in
general, which is is doing it ina way that is sustainable.
So, yes, for me I've I'velanded on the cadence of every
day.
I do miss days here and there,but for the most part it's every
day.
It's just something that isbuilt into my schedule and I'm
happy to do it, because the wayI post content, it usually
doesn't take me longer than halfan hour, maybe an hour most for
(22:52):
the kind of bigger videos thatI'll do.
But it is key to to stick to aschedule that you can stick to.
So if that's once a week, makeit once a week.
If it's three times a week,make it three times, but don't
try and feel like you need to do, you know, five times a week,
six times a week, seven times aweek, because some social media
guru online told you that's whatyou have to do.
(23:13):
It's about doing something thatis sustainable for you because,
again, as soon as you get itgets hard, you're going to drop
it and you're going to forgetabout it and you're going to
move on.
So that's that's step numberone.
But also, which is very closelylinked to it, is about being
authentic in the kind of contentyou want to create.
So don't try and copy otherpeople and the kind of styles of
(23:33):
videos they do.
You really need to experimentand land on a way of creating
content that's true to you andyour own voice, because a huge
part of this content isobviously to sell yourself and
to make yourself attractive topotential clients.
If you're doing stuff that isphony or fake or see-through,
people will see through it.
Everyone has a kind of goodbullshit detector these days.
(23:53):
With content, you can see who'sgenuine, who's not.
So just try and experiment andfind stuff that works for you
and resonates for kind of yourvoice, and just keep
experimenting and tryingdifferent things.
Marc Matthews (24:05):
That would be my biggest key takeaway I think
what you mentioned there aboutthe bullshit detect is quite,
quite important, because I'vesaid this and I've had this
conversation on the podcastbefore about how, like, as soon
as you start presenting yourselfand trying to emulate someone
else and it's not you, as yousay people can quite quickly see
through that.
And I I also had this actuallywhen I was releasing music, and
(24:25):
I remember when I was producing,I moved away from being in a
band and then I was releasingmusic under my own, my own steam
, and I was trying a couple ofdifferent genres and I quickly
realized actually, yeah, I couldput music out, but it wasn't
authentically me and it could beheard in the music as well.
I listen back to it now I'mlike, oh shit, man, that's yeah,
that's not great.
Eliott Glinn (24:43):
What was I doing there, yeah?
Marc Matthews (24:44):
it's not great, I have no idea what I was doing.
So it also, yeah, I think, inany creative form, because
putting content out, you are acreative.
Yeah, it's a creative, and alsoI was going to say this earlier
and I totally forgot, actuallybut actually just the art of
being a bit, uh, an entrepreneurand being in business for
yourself is creative as well.
There's so many creative facetsto it, but, yeah, that
(25:08):
authenticity one, I think, iskey, man, because, like you said
, people can quickly, quicklysee through that.
Eliott Glinn (25:14):
Yeah, definitely, it's an obvious thing you see
online and again, you have tokind of go through and test the
waters, try things out, and partof that will be trying to
emulate people you admire online.
But as soon as you can kind ofland in your groove and find
things that work for you, umthat you, you feel good doing it
.
So again, I've got a lot ofproducer friends who who don't
like talking to camera.
(25:34):
They feel a bit, um, just youknow, just uncomfortable talking
directly to camera, so insteadthey'll make breakdown videos of
their productions and show you,you know, go through each
individual element and build upthe track in a minute long, half
a minute long kind of reel,whereas other people really love
talking to camera and are greatcommunicators, so they can turn
the camera on, sit there and,you know, talk and condense an
(25:55):
idea down really easily.
So it's just finding things thatwork for you.
But another key part of it aswell I think I mentioned earlier
on is knowing what your idealaudience, uh, is going to want
to see.
So I think a big trap that alot of first time mix engineers,
producers, mastering engineersfall into is making content for
other mix engineers, for example.
(26:17):
So yeah, yeah a lot of mixengineers think, okay, I'll just
make content showing how good Iam as a mixer and that will
attract um artists.
And it doesn't.
All it does is attract othermix engineers who are like, oh,
that's cool, I like that trick,that's a good trick.
You know, whereas you're tryingto attract artists, what
problems do artists have?
They have problems with writing, with production, with
recording, with getting gigswith.
(26:38):
You know, motivation, withmental health, all that kind of
stuff.
If you can create contentaround those things, slip in a
few videos here and there whichshow your expertise as a mix
engineer.
You know how I turned a songfrom this to this.
You know how I made a vocalshot.
You know that's great, you canpepper those in.
But don't make the content thatyou'd want to see.
Marc Matthews (26:58):
Make the content that your ideal client would
want to see yeah, that's, that'sa top tip right there, um,
which I've now marked um, soit's going to be a sound bite
for this, uh, for this episode.
A fantastic tip there, um, interms of that content and what
you should be showcasing,because I've noticed that when I
put I've done particular videosin the past, and then you
(27:18):
realize actually the onlyengagement I'm getting from this
, this podcast episode, orwhether, notably, youtube really
is, uh, is just other engineerscommenting on it, either saying
no, that's wrong, which doeshappen Always, yeah.
Eliott Glinn (27:32):
No, you're doing it wrong.
Don't do it like that.
Marc Matthews (27:33):
Yeah, you're like , no, that's not the way to do
it, or something along thoselines.
I'm like, okay, all right.
Then I realized that's notlanded where it should have
landed.
Eliott Glinn (27:46):
Yeah, and it's an easy trap to fall into because
it's something you're confidenttalking about.
You know, as a mix engineer, Icould talk about mixing for
hours because it's something Ilove and I'm really passionate
about.
But that's not the audience.
You know, like I say, theartists aren't caring how I eq a
kick drum or how I use threedifferent compressors to get
this, like they don't care, theyjust care what comes out of the
speakers.
Will it connect with myaudience?
Like if you can show that in ain a good way, then then you
(28:09):
kind of win them over.
But yeah, it's um, it is a,it's a trap I see people fall
into all the time wise words, myfriend, wise words, I think.
Marc Matthews (28:17):
Um, in the interest of time, we'll move on
to the uh, this, this finalquestion I've got here.
So this imagine we've gonethrough this process content
creation, creation, we've gotthe leads coming in, we're
having these conversations andnow we're at that point now
where we're going to be chargingfor our services and or maybe
we've completed a project, orcompleted our first project.
So we're talking aboutlong-term success and client or
customer, however you want tophrase it retention.
(28:39):
So can you tell our audience abit about strategies that you
use to build long-termrelationships with your clients
and, importantly, keep themcoming back?
Eliott Glinn (28:50):
yeah, that's a great question.
Um, in this game, as with mostthings, reputation is everything
.
So you need to obviously dogreat work and you need to also
keep your word.
So do what you say you'll do bywhen you say you'll do it,
because that's the worst thingyou can do is tell somebody I'll
give you you the mix on Friday,have a Friday rolls around and
they don't get an email from youor any communication, and then
(29:13):
you send it on the followingWednesday.
You know that's a recipe fordisaster.
So just be the consummateprofessional that you know you
should be if you're trying toturn this into a business.
So, clear communication witheverybody, stay on top of all of
your emails and DMs as much asyou can and, like I say, if you
promise something you know, makesure you get it in on time, if
(29:34):
not beforehand, and you knowit's.
That whole under promise, overdeliver is key for this, and I
think as long as you can kind ofbake that in to how you operate
and how you do business, thenyou're going to keep as many
clients as possible.
Obviously, people do fall offand you end up not working with
some people again because youmight not have been the right
fit or they want to try someonenew.
(29:55):
But for the most part, if youjust do good work and be a good
you know, as they say in America, be a good hang then people are
going to want to come back andwork with you again.
Marc Matthews (30:05):
Yeah, it's that idea, isn't it?
Like you want to be someonethat people want to have in the
studio.
I appreciate, like we provide,and we have these remote
services that we provide, but intheory you want to be thinking,
ok yeah, that guy's great, I'dlike to have him in the studio.
I'd like to have them in thestudio with me while I'm working
Proverbial studio, as it were.
(30:25):
So like to have them in thestudio with me while I'm working
proverbial studio, as it were.
Um, so, just on the flip sideof that, could you identify
maybe something that would notwork in your benefit, or what
you might see people doing wherethey fall foul of sort of this?
Eliott Glinn (30:36):
client retention and long-term success yeah, I
think maybe being overly um, Iwouldn't say overly needy, that
might be the wrong, the wrongphrase, but but when it comes to
music making, it's a verypersonal thing and, like I said,
sometimes you work withsomebody and you think you have
a really good relationship andyou that you've had an awesome
project, and then they mightwork with someone else, and
(30:57):
sometimes I see people burnbridges because they feel, you
know, their ego gets in the wayand they're like, oh, why didn't
they come back to me?
they should have come back to me, or yeah or maybe you're
working with someone it's notgoing quite well enough and they
want to try someone new.
I've had it where people havecome to me and they're trying to
get me to mix it when they'vehad a bad experience with
someone else and this other mixengine is not sending the files
(31:18):
over or they're not giving them,you know which is their
intellectual property.
So it is that kind of immature,um approach to it where it's
like, you know they also thescarcity mindset, where it's
like, oh, I need to keepeverything in and not let
anybody, not let anybody go.
You know it's it's a free world.
Anyone can work with anyone andjust being okay with it and
letting that go is going tostand you in good stead again.
(31:40):
It just you just come off a lotbetter if you're a lot more
relaxed and calm about this kindof stuff.
Um, yeah, unfortunately, I'veheard horror stories about, you
know, bad producers or mixengineers people have had really
, you know, poor times workingwith and it's ended, you know,
in a in a kind of burnt bridge,which is not what you want yeah,
ultimately, I think it.
Marc Matthews (31:58):
I remember hearing this from a ceo of quite
a quite a large organizationand they just summarize it
pretty much as don't be a dick,yeah, basically that's it.
You could summarize it in thatway.
So it's like just you got tothink right, someone's come to
you for a service because theywant to have whatever it is that
you provide and like.
Ultimately it's their projectand you should be looking out
(32:19):
for their project and makingsure they get the best possible
outcome from whether that's withyou or actually you realize
this isn't quite working out.
I'll recount from this.
You can take this to someoneelse where maybe they'll be able
to do something better for youand just not being salty about
it, you're just realizing it'sfor the better of their project
and in doing that you're notgoing to burn those bridges.
But I know what you mean.
Eliott Glinn (32:39):
I've I've witnessed that and I've seen
that myself yeah, and it'sunfortunate because it puts a
bad mark against your name.
Then, like I say, reputation iseverything and you want to be
known, whether you work withthis person or not, as the kind
of guy that they can come to andsend things to, or you just
need to be that professionalthat you know.
Again, you wouldn't imagineCEOs or managers of businesses
(33:00):
kicking people out and, like youknow, unwarrantedly and just.
You want to be the professionalthat you know you should be and
I think that's the kind of mainthing and just just keeping on
top of communication as well.
So, once you've had a, had aproject with somebody and you
know you've parted ways, followup with them every three, six,
you know, 12 months, whatever itis, and just check in, see how
they're doing again, not to belike are you ready to send me
(33:22):
another song just going, how's?
How's the music going, how'sthe family?
You know, just buildrelationships with people and
that'll stand you in real goodstead in this industry.
Marc Matthews (33:31):
One quick question off the back of kind of
segwaying a little from whatyou said there just before we
move on to the final part hereCold calling of potential
clients.
I know this isn't to do with.
I suppose it is to do withlong-term success, because I've
had this where I've releasedmusic and then I've had DMs or
an email and then someone says,oh, listen to the XYZ song.
(33:53):
And there was one in particularwhere someone was like it
sounds really harsh in the midrange at about 1K.
I think you need to do this,this and this.
I can help you and I'm this.
I can help you and I'm like Idon't like what.
Yeah, that made me so it wasn'tum, but like, what are you
doing, man?
Like that is not the way toapproach it.
What are your?
Eliott Glinn (34:10):
thoughts on that.
That is quite literally theworst way to approach it.
Again, they're trying toposition themselves as the
expert, expert and making itabout them being like this is
what I can do, this is what Ican do, and it shouldn't be
about that.
It should be about the artistand and about what they can.
They can get from it.
But yeah, I mean I even I get.
It doesn't happen as muchanymore, thankfully, but there
was good for a good two, threeyears.
I would get you know random dmsbeing like hey, bro, let's
(34:33):
collab.
Um, you know people just justtrying to get something from you
and not offering anything inreturn.
And going back to what youmentioned about the go giver,
which everyone read, it's aboutgiving as much as you can and
then you will receive in return.
It might not be from thatperson, it might be from the
next one, but just if you'regoing to cold DM people or cold
(34:53):
email again, you don't go forthe kill straight away.
It should be building up arelationship, get to know them.
You might assume they have aproblem, like that person
assumed.
You had a problem with your 1k,which you didn't, but if he had
spoken to you he might haveunderstood that you mix it that
way because you like that soundand like, and so he's just come
(35:13):
in trying to sell you somethingthat you didn't need and he just
comes off as a jerk.
So, yeah, you can't.
You cannot accurately prescribea solution to a problem that
you don't know.
So that's why talking in dmswith people is so key.
You need to understand do theyhave the problem that I believe
I can solve for them?
If they don't, then that's fine, you can.
You can keep chatting or youcan move on, but you can't go in
(35:33):
for the hard sell because itjust yeah, it just leaves you up
, shakes creek, it does, it does.
Marc Matthews (35:39):
I've had there's like yourself.
I don't really get them anymore, uh, but I did.
I remember.
It's notably really whenever Irelease music of my own and then
sort of these people sort ofcrawl out the woodwork, as it
were, offering XYZ service.
A lot of mastering engineers dothat, I find.
Eliott Glinn (35:56):
That's a shame as well, because mastering, out of
all of it, is one of the mostrelationship-based kind of
businesses as well.
So for people to kind of jumpin straight away and be like, oh
, I can master your stuff foryou, you know, race to the
bottom, I'm like 20 quid for amaster.
It's just like I wouldn't trustyou.
I wouldn't trust you.
You haven't even bothered tokind of have a chat with me and
(36:17):
figure out what kind of music Imake.
If I'm looking for a master andengineer, you know they just go
for the hard sell and yeah,they're just they're shooting
themselves in the foot yeah,that race to the bottom one.
Marc Matthews (36:27):
I could probably do a whole episode on that.
Some of the some of the race tothe bottom stories I've I've
experienced and you probablyexperienced yourself as well.
Eliott Glinn (36:35):
It's crazy yeah, crazy it's, it's sad and I think
it's unfortunate that there's,you know, websites like fiverr
and sound better and air gigs.
They're great if you're juststarting out and you want to
kind of get your feet wet andand get projects and stuff, but
all anybody is looking for isthe cheapest option on those
websites, which is why I'm noton them.
You know, I think I set aprofile years ago on sound
(36:57):
better, um and the similar thingwith air gigs, but I never get
any work through them and Idon't really want to, because I
want to have a relationship withall of my clients, I want to
get to know them, I want to jumpon phone calls with them and
talk through stuff and I want toprovide a service that they're
happy paying you know more of apremium for and you're not going
to get that through websiteslike Fiverr or Soundbetter.
(37:17):
It's going to be send, send thefiles, receive them back and
that's it.
No communication, no care given.
It's just like an exchange,which is not really how art
should be made.
Marc Matthews (37:27):
I totally agree.
There needs to be thatcollaborative collaborative
process and that communicationconversation to.
I think, most importantly goingback to what you said right
right at the beginning of thatwith regards to the cold dms is
establishing whether or notyou're a good fit, like just
just reaching out to someone andsaying I'll do X, y Z for you.
How do you know it's going tobe a good fit without having
(37:47):
that conversation?
So and that kind of seguesnicely onto this final bit.
So I'll be doing you adisservice, elliot, if I didn't
offer you the opportunity, orgive you the opportunity rather,
to just describe a little bitabout what you're doing and what
you provide, find you, andmaybe, if you've got some
exciting thing or somethingcoming up, maybe you could
reveal to the audience, if notjust like what you're doing
(38:08):
where they can find you yeah,absolutely so the best place
would be on instagram.
Eliott Glinn (38:11):
My handle is elliot glinn audio.
Um, elliot is spellede-l-i-o-t-t, glinn, g-l-i-n-n.
It's a bit of a weird spelling,but yeah, elliot glinn audio.
Same thing for my website, um,but on there as well.
I'm just setting up.
Now.
I'm in the process of creatinga community for people who want
to learn how to mix as well,because, oh nice, a big part of
my journey as a mix engineercoming up was being in this
community where we got sentmulti-tracks every month.
(38:33):
Um, you know, we were shown howthe mixer walked through the
mix and did all of his tweaks,and then there was a monthly q
a's.
So I'm in the process ofgetting something similar set up
.
So if anyone's interested aboutjoining that, then go to the
link in my bio on my Instagram.
There's a button in there it'scalled learn to mix and you can
join the waitlist.
But yeah, I'd love to connectwith anybody they want to talk
business, want to talk mixing,anything like that.
(38:55):
Just drop me a DM on Instagramand I'll be happy to chat.
Fantastic stuff.
Marc Matthews (38:59):
I will put a link to the Instagram and also your
website in the episodedescription.
So, audience, please do go andcheck out Elliot's Instagram and
the website as well, and ifyou're interested in content
creation, do go check out,obviously, instagram, because
that's where you're going tofind it, because there's some
great stuff on there, somereally good B-roll content.
Yeah, I've got to say that Somereally good stuff in there.
(39:19):
Elliot, it's been a pleasurechatting with you today with
regards to all things sort ofbusiness and in the music
industry and whatnot.
So hopefully this is going toset the audience up if they're
thinking about kicking on withtheir own services in 2025 or
whatever year.
They're listening to this andthen, yeah, they're going to get
a lot out of this.
So a big thank you for joiningme on this today.
Oh, it's my pleasure.
Thanks for having me on, mark.
I appreciate it.
(39:50):
Cheers, buddy.
I'll catch up with you soon.
Folks, before you go, I want tohear from you.
I want to know your favoriteepisode of the Inside the Mix
podcast.
Alternatively, you could justreview this episode.
Click the SpeakPipe link in theepisode description and you can
record an audio messagedetailing your favorite episode
and why, and also give yourselfa shout out.
All you need is your mobilephone.
You don't need a SpeakPipeaccount.
You don't need to download anapp.
It's just like sending me anaudio message via WhatsApp or
whatever messaging platform youuse.
(40:12):
As soon as I get your audio,you will be entered in that
month's draw to win a Starbuckscoffee voucher, and if you don't
like coffee, just give it tosomeone else and pretend that
you bought it for them.
All you need to do is clickthat speak pipe link and send me
an audio message reviewing thisepisode or a previous episode,
and give yourself a shout out.
Hi, this is Neon Highway.
I've just been listening toepisode 175 of Inside the Mix
podcast.
Incredible tips from both Markand from Tim aka IL9.
Just phenomenal breakdowns ofwhere to use things like reverb
(00:21):
and delay.
Personally, I've been usingthis since, watching that
episode and listening to thatepisode, putting it into
practice in the mix andinstantly I'm finding that the
mixes are so much clearer.
Eliott Glinn (00:33):
So I just wanted to say thank you guys for for
that information slip in a fewvideos here and there which show
your expertise as a mixengineer.
You know how I turned a songfrom this to this.
You know how I made a vocalshot.
You know that's great, you canpepper those in, but don't make
the content that you'd want tosee.
Make the content that yourideal client would want to see.
Neon Highway (00:55):
You're listening to the Inside the Mix podcast
with your host, Mark Matthews.
Marc Matthews (00:59):
Hello and welcome to the Inside the Mix podcast.
I'm Mark Matthews, your host,musician, producer and mix and
mastering engineer.
You've come to the right placeif you want to know more about
your favorite synth musicartists, music engineering and
production, songwriting and themusic industry.
I've been writing, producing,mixing and mastering music for
over 15 years and I want toshare what I've learned with you
(01:21):
.
Hello, folks, and welcome backto the Inside the Mix podcast,
or welcome if you are a newlistener.
Today I'm joined by a specialguest, elliot Glynn, a talented
mixing and mastering engineerbased in West London, so a
fellow Englishman on the podcast, which actually is going to be
(01:41):
the first.
I know I tell a lie, I tell alie.
We had one before the new year.
He's built a thriving remotebusiness collaborating with
artists worldwide to transformtheir recordings into powerful,
emotive mixes they can be proudof.
Elliot, thanks for joining metoday.
How?
Eliott Glinn (01:55):
the devil, are you ?
I'm doing really well, mark.
Thank you so much for having meon and, yeah, excited to chat
to you today.
Marc Matthews (02:00):
Yes, that to you today.
Yes, yes, I know we appear, asI do with all these episodes, in
these interviews.
I always put these uh schedulethese interviews quite far in
advance, so it's been a longtime coming, probably three or
four months, I would say.
So, yeah, I'm looking forwardto this one, some really
interesting stuff in thisepisode which I'm going to go
through in a minute, which isgoing to help the listeners, the
audience, really kick on in2025.
So a bit about elliot.
(02:21):
Here is a professional mixingand mastering engineer, if I've
mentioned, with a passion forboth audio excellence and the
business strategies behindrunning a successful music
career.
Beyond the technical side,elliot helps other engineers and
producers build systems to growtheir businesses, and we were
chatting about systems justbefore.
We started recording, from leadgeneration and content creation
(02:42):
to effective workflowmanagement.
We started recording from leadgeneration and content creation
to effective workflow management, and in this episode, elliot's
going to share tips andstrategies to help you kickstart
your music business in 2025.
Or, if you're listening to thisin the future, whatever year
you're in, because, yeah, it'salways going to be there, it
should always apply.
Yeah, exactly yeah, it willalways apply.
(03:03):
It's not just specific to 2025.
Yeah, exactly yeah, it willalways apply.
It's not just specific to 2025.
So, elliot, you've built asuccessful remote mixing and
mastering business for producersand engineers looking to start
or grow their side hustle in2025.
Or maybe they just want to gostraight all in with it
altogether.
Can you talk about some of themost important mindset shifts
they need to make?
Eliott Glinn (03:25):
Yeah, there's probably two main ones that I
see all the time when I talk topeople about this, and they both
revolve around money.
The main one is that a lot ofpeople seem to think and I think
this comes from their family ortheir friends saying it that
there isn't any money in music.
It's quite a typical limitingbelief people have, which is
obviously a lie, because there'sthousands, hundreds of
(03:46):
thousands of people making aliving from you know, directly
from music.
Whether that is writing,recording, mixing, mastering,
you know, any kind of avenue yougo down, there is money to be
made.
There is people because it's ahobby.
A lot of us start this out as ahobby and we something really
(04:06):
enjoy doing on our spare timethat people feel bad charging
for their services because theyfeel like, well, I'll be doing
this anyway, it's a lot of fun,and there's a lot of kind of
issues around the mindset ofcharging and pricing your
services appropriately.
So if it is something that youplan on doing is trying to make
this a full time gig or evenjust you know some side income
really trying to make this afull-time gig, or or even just
you know some side income,really trying to get your mind
(04:27):
set around the fact that this isa business, you can make money
from it and you should becharging a fair rate for the
service that you provide verygood.
Marc Matthews (04:35):
So you mentioned music in the music, money in
music and the generalmisconception that there is no
money in music.
Have you got an idea why?
Like one of the main reasonswhy maybe someone from the
outside looking in would thinkthat way?
Eliott Glinn (04:49):
yeah, I think I mean there's this prevailing
myth of the starving artistisn't there, and I think that
applies for not just music,applies for any kind of arts
like actors and and painters,and you know, there's the myth
that you need to struggle foryour art and you need to be poor
and like work your way up andit's just really not the case
and obviously, like with anykind of skill and any kind of
business, it takes some time toget to a point where you're
(05:11):
profitable and you're doing youknow, pulling in the right
clients or making the right kindof money.
But it just I think it comesfrom that lack of it being seen
throughout school as a kind ofviable career option.
Through school you're alwaystold you know kind of, do maths,
english science, do somethingbusiness or accounting or that
kind of stuff you know, and it'svery rare that you're you're
(05:31):
pushed in school being like youcan make, you can make music or
arts, your career.
Um, I think that's where itlets a lot of people down and
then that kind of you knowfesters in your brain for all
throughout the rest of your lifeand a lot of people are
probably sat at home thinking,yeah, no, there's no money in
music, but I do this full-time.
I know so many people that doyou know, make full-time income
from from making music.
So it's, it's totally doableyeah, most definitely.
Marc Matthews (05:54):
It's just being a full-time creative is certainly
doable.
And, going back to what yousaid there about the in school
and career pathways and havinghaving come from being a teacher
myself and working in a school,no longer doing it now and it's
unfortunate because what echoeswhat you said there is that
generally, when there is budgetcuts or there aren't enough
(06:14):
teachers to fulfill positionswhich invariably does happen in
the UK and probably across theboard the creative subjects are
generally the ones that are cutfirst in favor of like you said,
math, science, english whichI'm not knocking those,
obviously you, we need to be amaths and english and and
science and whatnot.
But yeah, generally the creativeones are knocked first.
(06:35):
And I remember when I was, uh,living in cardiff and I was, I
was in a house share and this isgoing back many years now and I
was doing a master's degree inmusic, engineering and
production and I had a housemateand I was doing my my years now
and I was doing a master'sdegree in music, engineering and
production and I had ahousemate and I was doing my
master's degree and I wastalking about how I was working
in a primary school and I wasjust teaching these kids how to
use reason and producing reasonand primary school kids.
(06:58):
I realized at that point,trying to teach them how to use
reason.
My God, I never wanted to stepinto a primary school again.
Anyway, he I remember him saidto me and his exact words were
why would they want to learnabout music?
And I was just like what areyou talking about, mate?
And it was, it was, it was verymuch an outsider's perspective
and that was his exact, hisexact mentality.
He's like they're not going toget anything out of that, why
(07:18):
would they want to learn aboutit?
It's crazy yeah, it's.
Eliott Glinn (07:21):
It's really sad that that is the prevailing
thought around this stuff andand, like you say, it goes all
the way to the top, all the wayto.
You know the um in government,the way they set the kind of
things that are taught in school.
It is this belief that, okay,it's nice, you can do that on
the side, it's a bit of fun, andyou should obviously be
creative and enjoy it.
But to make money and have aliving you need to do this other
(07:41):
stuff and um, I also worked inthe school for a number of years
as a music technician and theamount of kids that loved music
and got so much joy andenjoyment out of doing it.
They used to come in theirlunch and breaks and before and
after school into the practicerooms to play and you'd see them
come alive, and these were thekind of kids that probably in
other academic classes weren'tdoing so well.
(08:01):
But music was like a safe haven,and I know that was a similar
thing for me growing up as well.
I was dyslexic in school.
I struggled with the kind oftraditional math, science,
english, but music was all itjust clicked, and so being told
from a young age that, oh, thisis not something you can do.
You should do something else isvery damaging, I think.
So yeah, it's a myth that I'dreally like to bust.
Marc Matthews (08:21):
Yeah, most definitely.
And, like you mentioned thereabout being in the industry
itself, there is money to bemade out there and obviously the
industry does change and itpivots and it moves with regards
to, like, the current climate.
Ai is a big one, for example,of course, and you've got to
find out where you can maneuverwithin that, but there is, you
can do it.
I mean, it's crazy that peoplethink that you can't.
(08:42):
And also the creative economydoes contribute millions upon I
don't know the figure- it's hugebut, millions to the uk and
obviously economies abroad aswell.
Eliott Glinn (08:51):
So to say that there isn't money in it is, it's
crazy yeah, that's it, and Ithink a big part of it as well
is probably the old belief aswell about um, you know, record
labels, holding all the moneyand being in charge and stuff,
whereas now there has never beena better time to be a creator,
like you say, whether that ismusic or video, whatever it is
you're doing, because you youcan garner an audience like that
(09:11):
.
You know it does all it takes isjust a little bit of graft and
consistency and you can get anaudience where you earn enough
money to make a living from, andand you don't need outside help
from a label or from managementor things like that.
You can do it yourself, um, andthe skills you can learn to do
it as well.
So most definitely.
Yeah, it's one of those thingsthat I don't think there's been
a better time in history to totry and you know, make a living
(09:33):
from music.
Marc Matthews (09:34):
Yeah, it reminds me of a conversation I had
probably about a year ago on thepodcast with uh and a chap
called jesse k from the newagency, and he he put it quite
nicely.
He said it's now the case ofthe the tail is wagging the dog
in terms of the artist havingthe power now to be, to have
more control over their creativeintellectual property,
(09:54):
essentially, which I thought wasgreat.
Yeah.
Eliott Glinn (09:58):
I couldn't agree more.
Marc Matthews (09:59):
Yeah, most definitely.
Moving on to our next topichere, so we've got lead
generation strategies, so we'rethinking about growing our side
hustle, or maybe we're going allin with our music business.
Whatever it may be, a lot ofpeople in the industry struggle
with finding consistent work, socan you tell our audience about
some lead generation strategiesyou've used effectively, and
(10:21):
how can someone just startingout begin building a client base
?
Eliott Glinn (10:25):
Yeah, it's a really great question and, like
with a lot of these things,there's a ton of nuance.
But I have tried so manydifferent things over the years
to try and generate leads andbuild this business, but it
always has fallen back to just asimple kind of two pronged
approach and that is content,creating content and having
conversations.
So with those two you can makethis business work.
(10:48):
So for me, a huge part of it ismaking content daily on
instagram.
Um, you know, they don't haveto be huge production videos.
They can be simple little 15second talking head videos.
They could be little loopingones that last five seconds and
you write some captionunderneath.
But it's just about puttingvalue out there, understanding
(11:08):
what your target audience wantsand what they're missing, what
information you can help andkind of position yourself as the
expert and putting yourself outthere and then letting the
algorithm kind of push thatcontent out to the right people.
But it also that then helps youhave these conversations.
So people who interact withyour, with your content, people
who follow you, people who likeyour stuff, people who you know
(11:29):
comment on everything, you canstart conversations with them
and just have conversations withfive to 10 people each day, if
you can.
That's the kind of number thatI found works well for me.
Anymore is just a bit too muchto keep on top of.
But between five and 10, justget those conversations going
with people and it's a.
It's not about trying to besalesy.
You're not trying to jump in aconversation straight away being
(11:50):
like have you got any songs youneed mixing?
I'll mix them for you.
You know that nobody likes that.
It's about building genuineconnection, finding out what's
going on with them in their kindof in their music career.
Is there something you can helpthem with outside of mixing?
If that's the thing that youwant to do, you know you could
be like send me your work inprogress, I can give you
production advice, I can giveyou tips.
You know I can connect you withsession players, producers.
(12:12):
Just be the guy or girl thathelps people, you know, achieve
what they want to achieve andthrough doing that you'll you
know you'll generate leads.
It just takes a little while.
It does take consistency, butif you do those two things you
know create content and starthaving conversations with people
you've basically got the recipefor having a successful
(12:32):
business.
Marc Matthews (12:33):
Yeah, it reminds me of the Go-Giver parable.
Eliott Glinn (12:36):
I don't know if you've ever read that book.
Marc Matthews (12:37):
Yeah, love that book you probably have, yeah,
the Go-Giver parable, which isyou just give, give and give and
give and uh, and you helpwherever possible, basically
echoing pretty much what you, oreverything you've just said
there.
Eliott Glinn (12:49):
really, when it comes to those conversations,
yeah, and that's it, because itbuilds reciprocity.
That's the whole point isyou're you're putting out this
content and but I do it dailybecause, again, it helps you
stay top of mind.
Um, and there's so so manydifferent topics I could talk
about and that through havingconversations with you know
potential, I also find outthings I can make content about.
You know, you'll see repeattopics come up again and again
(13:10):
and again.
You know, okay, that's an ideathen I can make for a video or
you know kind of how to tutorialor something like that and all
that does.
The more and more you put out,the more people link to your
name.
Oh, this guy's really helpful,he does this stuff and he's
giving and he's giving and he'sgiving and he's giving and he's
never asking for anything inreturn.
And so when it comes to thepoint when somebody's making an
EP or an album or a single,whatever it is, and they're like
(13:32):
I need a mix engineer, thenhopefully I'm top of mind and
that's the kind of general ideahere.
Marc Matthews (13:38):
Most definitely.
You mentioned there content andContent and conversations being
sort of that two-prongedapproach.
So, to devil's advocate, isthat the wrong word when you
were doing this?
Is there one approach can youthink of or can you identify
that you tried that reallydidn't sort of resonate or work
for you?
Eliott Glinn (13:53):
Yeah, a big one that I see pushed a lot is to do
an email list and do emailmarketing, and that's something
I've tried on and off numeroustimes and it's never seemed to
work for me.
I don't know why that is.
I think I was trying, you know,weekly, sending weekly emails,
sending things about you knowhow to write, how to produce,
how to mix, just covering abroad range of topics.
(14:15):
But it's really hard to grow anemail list.
You know, from social media,you have to put up things like,
you know, free lead magnets andthings like that.
And and I only ever built up tolike 100 200 people on this
email list and I never got anywork through it and I think I
sent weekly emails for about ayear with it and I just thought
Do you know what it's?
(14:35):
Just realizing?
This isn't working.
I know what is working, whichis content on Instagram.
So I'm just going to doubledown on that.
I'm just going to give up.
I think too many people try somany things at once.
So they'll try the emailmarketing, they'll try Instagram
, they'll try YouTube, they'lldo TikTok and it's just
spreading yourself thin andinstead just focus on one that
works for you.
So, like for you.
You know this podcast is yourthing, so this is what you do
(14:57):
and it and it's, and it worksfor you and Instagram works for
me.
I know a bunch of producerfriends who work really well on
youtube and so they just focuson putting out one really good
youtube video every month andthat brings in enough leads to
run their business.
Marc Matthews (15:10):
Um, instead of spreading yourself thin trying a
million different things thatdon't work I 100 agree with all
that and my I did have aquestion that was going to lead
on you've pretty pretty muchgone through it there which was
got with, which was regards tospreading yourself too thin.
And I remember when, a coupleyears ago, and I was trying to
spreading yourself too thin andI remember when, a couple years
ago, and I was trying to beomnipresent on all these
platforms and it is just sotiring.
(15:31):
It is so tiring.
I was trying to go live onInstagram yeah, I was doing
going live on YouTube and and uhand Facebook, when I was doing
podcast episodes and I hadcontent that I was posting on
each platform trying to get itout there.
And I realized it was that Iwas posting on each platform
trying to get it out there and Irealized it was really tiring
and also it just wasn't thateffective.
And then, having looked at thatand then sort of re-evaluated
(15:52):
it or reflected on it, I thenjust narrowed it down to
Instagram I'm still on the otherplatforms, but cross-posting if
it's automated, then it'll getposted and, having then narrowed
my focus, it then resulted inactually the downloads
increasing with the podcast andI found actually I was posting
less and the downloads weregoing up, which was quite
interesting, and it's still thecase now, which is amazing.
(16:13):
And what you mentioned thereabout YouTube, for example, the
podcast is on YouTube, but I'mstill toying with the idea of
actually just using the rss feedand sending it out to youtube
and not having the video format,because it would just save me
time and I can concentrate onthe audio side of things.
But there is this little thingin my head, which is that fear
of missing out that is so hardto get rid of, because I know
(16:35):
there are people that consumethe podcast on youtube and I
don't want to lose them as aslisteners, as viewers.
So a quick question withregards to that fO and fear of
missing out do you ever have youexperienced that and how do you
sort of deal and strategizearound that?
Eliott Glinn (16:50):
yeah, no, that's a really good question and it is
something I still do think abouta lot.
Like you say, you you feel likeI've I'm not on this platform,
if I'm not posting here, then Icould be missing out on
potential listeners, potentialcustomers, whatever it is.
But I think the the key part isthat self-awareness.
So you had and I've managed togo through as well, which is you
(17:10):
try all these other things, youtry a bunch of stuff and you
just kind of see in what sticksor what resonates with you,
because a huge part about doingcontent online and creating a
business online, you need to beable to do it consistently and
you're not going to do somethingyou don't enjoy or something
that burns you out consistently.
So it's realizing look, we areone-man teams, you know, or you
might have an assistant orsomebody to help you, but really
(17:31):
you're kind of a one-man band.
If we were like an agency andwe have five or ten other people
working, then maybe we could beon everything at once and you
know that that would generatemore um, more income or whatever
it is we're looking for.
But as, as a solo creator orsolopreneur, whatever it is, you
need to understand that yourenergy is finite and it can only
be put in so many places.
So try everything, give it a go, see what works for you.
(17:55):
But then, once you've kind ofdone that for a bit, just double
down on what works, forgetabout the rest and just really
really stick to it, becauseyou'll see, like yourself, you
go.
Oh, actually, just reallyreally stick to it because
you'll see, like yourself, yougo, oh, actually, I'm posting
less, but my views are going up.
How is that possible, it's like.
But you're making probablymaking better content, you're
doing better, better interviews,and you'll you'll have far more
energy, spending less timedoing things that don't move the
needle.
Marc Matthews (18:15):
Um, so yeah, it's kind of a win-win yeah, exactly
that, and it I do need to withit.
With regards to youtube, Istill want to have that presence
on youtube because I do havegood engagement on there, but I
know if I didn't do the videoelement of it, I could then
recoup that time and then putthat into, as you say, the
actual production of the audioside of things and then the
interviews and whatnot and justeverything else that goes with
(18:37):
it.
So I need to sort of likepractice what I preach really
with regards to that.
You know it's a real tough one.
It is, it really is.
It is tough to do but I thinkyou really do need to do it.
And again, this is kind ofanother um, sort of tangent I'm
going down here and that is also, I think, can be reflected in
(18:58):
in terms of a service that youoffer.
So this isn't in the in theactual itinerary we've got for
this episode, but it just it'sin the back of my mind here.
So, with regards to, like,services that you provideary
we've got for this episode, butit's in the back of my mind here
.
So, with regards to servicesthat you provide, obviously
we've got mixing masteringproduction for yourself Would
you sort of recommend a similarapproach when it comes to
providing services as a mixingmastering engineer, producer
(19:20):
that FOMO, try not to provideeverything and maybe narrow down
on a particular avatar, as itwere, 100%, and again, it's one
of these things that you need totry and you need to test the
waters and experiment with, findwhat you enjoy most.
Eliott Glinn (19:34):
But, like a lot of people, I came up doing
recording, doing production,trying to do everything, and it
was only after years ofexperimenting and trying
different stuff I realisedmixing is for me, it's the thing
I love doing the most.
It's where my skills and myinterests, you know, overlap, um
, so just, I doubled down onthat and I see people who are
successful in music creation.
(19:56):
I see them niche down to doingjust one thing, whether it be
production, whether it be mixing, whether it be mastering.
Obviously there can be overlap,like I do do all three, but my
main thing is mixing andmastering, and production are,
you know, the kind of peripheralthings.
But yeah, absolutely, find theone thing that you enjoy doing
the most and just stick to that,because it's like you know,
(20:16):
I've heard this analogy usedbefore, but you wouldn't kind of
go to a gp, um doctor to getheart surgery because, yeah,
they're a general practitioner,they know all of this.
You know a lot of generalpractitioner, they know all of
this.
You know a lot of generalknowledge about a lot of stuff,
but when you want something doneright, you go to somebody who
does just that.
You know you don't want to putyour, your life in in somebody
(20:37):
else's hands who's not uh, youknow an expert and I think
positioning yourself as anexpert, in whatever field it is
you choose to do is, is a realkey thing in terms of building a
good business.
Because if you go on someone'sinstagram and it says I do vocal
editing, vocal tuning,recording, mixing, mastering,
like podcast production, youknow all of that stuff it's just
overwhelming and somebody'sgoing to look at it and go are
(20:59):
they going to treat my projectwith the care it needs?
Whereas if you go to someonewho just does mixing or just
does mastering, it's reallyclear what they do.
You're, you're showing yourselfas an expert and it's a lot
easier for somebody to kind ofpull the trigger it's clarity,
isn't it what you mentionedthere about being clear, uh, as
to what they do?
Marc Matthews (21:18):
and in my head again, I'm thinking I've gone on
websites before and, much likeyou said, there, you go on there
and it's just a shopping listof services that they provide.
I'm thinking, well, okay,you're there, you go on there,
and it's just a shopping list ofservices that they provide.
I'm thinking, well, okay,you're mixing, you're mastering,
but then you're also doingpodcast editing, you do podcast
production.
It's just like sure.
I mean, you may have all thetime to be able to do that, but
can you really say that you arethe expert not necessarily the
(21:41):
expert, but yeah, I guess, yeah,have that expert position in
that particular remit.
So, yeah, excellent stuff,elliot, excellent stuff.
So, in the interest of time,because I realize we're already
at 20 minutes and I've only twoquestions, in this always
happens, so we're going to nowmove on to content creation for
visibility.
So we've already touched onthat a little bit.
With regards to you, say,you're putting out content and
(22:02):
the approach you take, so canyou share how you approach
content creation and howproducers can use it to
establish credibility andattract potential clients?
I think as part of this as well, because I think it can get
quite overwhelming thinking thatyou have to post every day, or
you have to post at certaintimes of the day, or what have
you, which I think is amisconception.
But yeah, maybe you could talka bit about your establishing
(22:26):
credit, credibility and yourcontent creation approach yeah,
it's, it's what you mentioned.
Eliott Glinn (22:30):
There is crucial, I think, to content creation in
general, which is is doing it ina way that is sustainable.
So, yes, for me I've I'velanded on the cadence of every
day.
I do miss days here and there,but for the most part it's every
day.
It's just something that isbuilt into my schedule and I'm
happy to do it, because the wayI post content, it usually
doesn't take me longer than halfan hour, maybe an hour most for
(22:52):
the kind of bigger videos thatI'll do.
But it is key to to stick to aschedule that you can stick to.
So if that's once a week, makeit once a week.
If it's three times a week,make it three times, but don't
try and feel like you need to do, you know, five times a week,
six times a week, seven times aweek, because some social media
guru online told you that's whatyou have to do.
(23:13):
It's about doing something thatis sustainable for you because,
again, as soon as you get itgets hard, you're going to drop
it and you're going to forgetabout it and you're going to
move on.
So that's that's step numberone.
But also, which is very closelylinked to it, is about being
authentic in the kind of contentyou want to create.
So don't try and copy otherpeople and the kind of styles of
(23:33):
videos they do.
You really need to experimentand land on a way of creating
content that's true to you andyour own voice, because a huge
part of this content isobviously to sell yourself and
to make yourself attractive topotential clients.
If you're doing stuff that isphony or fake or see-through,
people will see through it.
Everyone has a kind of goodbullshit detector these days.
(23:53):
With content, you can see who'sgenuine, who's not.
So just try and experiment andfind stuff that works for you
and resonates for kind of yourvoice, and just keep
experimenting and tryingdifferent things.
Marc Matthews (24:05):
That would be my biggest key takeaway I think
what you mentioned there aboutthe bullshit detect is quite,
quite important, because I'vesaid this and I've had this
conversation on the podcastbefore about how, like, as soon
as you start presenting yourselfand trying to emulate someone
else and it's not you, as yousay people can quite quickly see
through that.
And I I also had this actuallywhen I was releasing music, and
(24:25):
I remember when I was producing,I moved away from being in a
band and then I was releasingmusic under my own, my own steam
, and I was trying a couple ofdifferent genres and I quickly
realized actually, yeah, I couldput music out, but it wasn't
authentically me and it could beheard in the music as well.
I listen back to it now I'mlike, oh shit, man, that's yeah,
that's not great.
Eliott Glinn (24:43):
What was I doing there, yeah?
Marc Matthews (24:44):
it's not great, I have no idea what I was doing.
So it also, yeah, I think, inany creative form, because
putting content out, you are acreative.
Yeah, it's a creative, and alsoI was going to say this earlier
and I totally forgot, actuallybut actually just the art of
being a bit, uh, an entrepreneurand being in business for
yourself is creative as well.
There's so many creative facetsto it, but, yeah, that
(25:08):
authenticity one, I think, iskey, man, because, like you said
, people can quickly, quicklysee through that.
Eliott Glinn (25:14):
Yeah, definitely, it's an obvious thing you see
online and again, you have tokind of go through and test the
waters, try things out, and partof that will be trying to
emulate people you admire online.
But as soon as you can kind ofland in your groove and find
things that work for you, umthat you, you feel good doing it
.
So again, I've got a lot ofproducer friends who who don't
like talking to camera.
(25:34):
They feel a bit, um, just youknow, just uncomfortable talking
directly to camera, so insteadthey'll make breakdown videos of
their productions and show you,you know, go through each
individual element and build upthe track in a minute long, half
a minute long kind of reel,whereas other people really love
talking to camera and are greatcommunicators, so they can turn
the camera on, sit there and,you know, talk and condense an
(25:55):
idea down really easily.
So it's just finding things thatwork for you.
But another key part of it aswell I think I mentioned earlier
on is knowing what your idealaudience, uh, is going to want
to see.
So I think a big trap that alot of first time mix engineers,
producers, mastering engineersfall into is making content for
other mix engineers, for example.
(26:17):
So yeah, yeah a lot of mixengineers think, okay, I'll just
make content showing how good Iam as a mixer and that will
attract um artists.
And it doesn't.
All it does is attract othermix engineers who are like, oh,
that's cool, I like that trick,that's a good trick.
You know, whereas you're tryingto attract artists, what
problems do artists have?
They have problems with writing, with production, with
recording, with getting gigswith.
(26:38):
You know, motivation, withmental health, all that kind of
stuff.
If you can create contentaround those things, slip in a
few videos here and there whichshow your expertise as a mix
engineer.
You know how I turned a songfrom this to this.
You know how I made a vocalshot.
You know that's great, you canpepper those in.
But don't make the content thatyou'd want to see.
Marc Matthews (26:58):
Make the content that your ideal client would
want to see yeah, that's, that'sa top tip right there, um,
which I've now marked um, soit's going to be a sound bite
for this, uh, for this episode.
A fantastic tip there, um, interms of that content and what
you should be showcasing,because I've noticed that when I
put I've done particular videosin the past, and then you
(27:18):
realize actually the onlyengagement I'm getting from this
, this podcast episode, orwhether, notably, youtube really
is, uh, is just other engineerscommenting on it, either saying
no, that's wrong, which doeshappen Always, yeah.
Eliott Glinn (27:32):
No, you're doing it wrong.
Don't do it like that.
Marc Matthews (27:33):
Yeah, you're like , no, that's not the way to do
it, or something along thoselines.
I'm like, okay, all right.
Then I realized that's notlanded where it should have
landed.
Eliott Glinn (27:46):
Yeah, and it's an easy trap to fall into because
it's something you're confidenttalking about.
You know, as a mix engineer, Icould talk about mixing for
hours because it's something Ilove and I'm really passionate
about.
But that's not the audience.
You know, like I say, theartists aren't caring how I eq a
kick drum or how I use threedifferent compressors to get
this, like they don't care, theyjust care what comes out of the
speakers.
Will it connect with myaudience?
Like if you can show that in ain a good way, then then you
(28:09):
kind of win them over.
But yeah, it's um, it is a,it's a trap I see people fall
into all the time wise words, myfriend, wise words, I think.
Marc Matthews (28:17):
Um, in the interest of time, we'll move on
to the uh, this, this finalquestion I've got here.
So this imagine we've gonethrough this process content
creation, creation, we've gotthe leads coming in, we're
having these conversations andnow we're at that point now
where we're going to be chargingfor our services and or maybe
we've completed a project, orcompleted our first project.
So we're talking aboutlong-term success and client or
customer, however you want tophrase it retention.
(28:39):
So can you tell our audience abit about strategies that you
use to build long-termrelationships with your clients
and, importantly, keep themcoming back?
Eliott Glinn (28:50):
yeah, that's a great question.
Um, in this game, as with mostthings, reputation is everything
.
So you need to obviously dogreat work and you need to also
keep your word.
So do what you say you'll do bywhen you say you'll do it,
because that's the worst thingyou can do is tell somebody I'll
give you you the mix on Friday,have a Friday rolls around and
they don't get an email from youor any communication, and then
(29:13):
you send it on the followingWednesday.
You know that's a recipe fordisaster.
So just be the consummateprofessional that you know you
should be if you're trying toturn this into a business.
So, clear communication witheverybody, stay on top of all of
your emails and DMs as much asyou can and, like I say, if you
promise something you know, makesure you get it in on time, if
(29:34):
not beforehand, and you knowit's.
That whole under promise, overdeliver is key for this, and I
think as long as you can kind ofbake that in to how you operate
and how you do business, thenyou're going to keep as many
clients as possible.
Obviously, people do fall offand you end up not working with
some people again because youmight not have been the right
fit or they want to try someonenew.
(29:55):
But for the most part, if youjust do good work and be a good
you know, as they say in America, be a good hang then people are
going to want to come back andwork with you again.
Marc Matthews (30:05):
Yeah, it's that idea, isn't it?
Like you want to be someonethat people want to have in the
studio.
I appreciate, like we provide,and we have these remote
services that we provide, but intheory you want to be thinking,
ok yeah, that guy's great, I'dlike to have him in the studio.
I'd like to have them in thestudio with me while I'm working
Proverbial studio, as it were.
(30:25):
So like to have them in thestudio with me while I'm working
proverbial studio, as it were.
Um, so, just on the flip sideof that, could you identify
maybe something that would notwork in your benefit, or what
you might see people doing wherethey fall foul of sort of this?
Eliott Glinn (30:36):
client retention and long-term success yeah, I
think maybe being overly um, Iwouldn't say overly needy, that
might be the wrong, the wrongphrase, but but when it comes to
music making, it's a verypersonal thing and, like I said,
sometimes you work withsomebody and you think you have
a really good relationship andyou that you've had an awesome
project, and then they mightwork with someone else, and
(30:57):
sometimes I see people burnbridges because they feel, you
know, their ego gets in the wayand they're like, oh, why didn't
they come back to me?
they should have come back to me, or yeah or maybe you're
working with someone it's notgoing quite well enough and they
want to try someone new.
I've had it where people havecome to me and they're trying to
get me to mix it when they'vehad a bad experience with
someone else and this other mixengine is not sending the files
(31:18):
over or they're not giving them,you know which is their
intellectual property.
So it is that kind of immature,um approach to it where it's
like, you know they also thescarcity mindset, where it's
like, oh, I need to keepeverything in and not let
anybody, not let anybody go.
You know it's it's a free world.
Anyone can work with anyone andjust being okay with it and
letting that go is going tostand you in good stead again.
(31:40):
It just you just come off a lotbetter if you're a lot more
relaxed and calm about this kindof stuff.
Um, yeah, unfortunately, I'veheard horror stories about, you
know, bad producers or mixengineers people have had really
, you know, poor times workingwith and it's ended, you know,
in a in a kind of burnt bridge,which is not what you want yeah,
ultimately, I think it.
Marc Matthews (31:58):
I remember hearing this from a ceo of quite
a quite a large organizationand they just summarize it
pretty much as don't be a dick,yeah, basically that's it.
You could summarize it in thatway.
So it's like just you got tothink right, someone's come to
you for a service because theywant to have whatever it is that
you provide and like.
Ultimately it's their projectand you should be looking out
(32:19):
for their project and makingsure they get the best possible
outcome from whether that's withyou or actually you realize
this isn't quite working out.
I'll recount from this.
You can take this to someoneelse where maybe they'll be able
to do something better for youand just not being salty about
it, you're just realizing it'sfor the better of their project
and in doing that you're notgoing to burn those bridges.
But I know what you mean.
Eliott Glinn (32:39):
I've I've witnessed that and I've seen
that myself yeah, and it'sunfortunate because it puts a
bad mark against your name.
Then, like I say, reputation iseverything and you want to be
known, whether you work withthis person or not, as the kind
of guy that they can come to andsend things to, or you just
need to be that professionalthat you know.
Again, you wouldn't imagineCEOs or managers of businesses
(33:00):
kicking people out and, like youknow, unwarrantedly and just.
You want to be the professionalthat you know you should be and
I think that's the kind of mainthing and just just keeping on
top of communication as well.
So, once you've had a, had aproject with somebody and you
know you've parted ways, followup with them every three, six,
you know, 12 months, whatever itis, and just check in, see how
they're doing again, not to belike are you ready to send me
(33:22):
another song just going, how's?
How's the music going, how'sthe family?
You know, just buildrelationships with people and
that'll stand you in real goodstead in this industry.
Marc Matthews (33:31):
One quick question off the back of kind of
segwaying a little from whatyou said there just before we
move on to the final part hereCold calling of potential
clients.
I know this isn't to do with.
I suppose it is to do withlong-term success, because I've
had this where I've releasedmusic and then I've had DMs or
an email and then someone says,oh, listen to the XYZ song.
(33:53):
And there was one in particularwhere someone was like it
sounds really harsh in the midrange at about 1K.
I think you need to do this,this and this.
I can help you and I'm this.
I can help you and I'm like Idon't like what.
Yeah, that made me so it wasn'tum, but like, what are you
doing, man?
Like that is not the way toapproach it.
What are your?
Eliott Glinn (34:10):
thoughts on that.
That is quite literally theworst way to approach it.
Again, they're trying toposition themselves as the
expert, expert and making itabout them being like this is
what I can do, this is what Ican do, and it shouldn't be
about that.
It should be about the artistand and about what they can.
They can get from it.
But yeah, I mean I even I get.
It doesn't happen as muchanymore, thankfully, but there
was good for a good two, threeyears.
I would get you know random dmsbeing like hey, bro, let's
(34:33):
collab.
Um, you know people just justtrying to get something from you
and not offering anything inreturn.
And going back to what youmentioned about the go giver,
which everyone read, it's aboutgiving as much as you can and
then you will receive in return.
It might not be from thatperson, it might be from the
next one, but just if you'regoing to cold DM people or cold
(34:53):
email again, you don't go forthe kill straight away.
It should be building up arelationship, get to know them.
You might assume they have aproblem, like that person
assumed.
You had a problem with your 1k,which you didn't, but if he had
spoken to you he might haveunderstood that you mix it that
way because you like that soundand like, and so he's just come
(35:13):
in trying to sell you somethingthat you didn't need and he just
comes off as a jerk.
So, yeah, you can't.
You cannot accurately prescribea solution to a problem that
you don't know.
So that's why talking in dmswith people is so key.
You need to understand do theyhave the problem that I believe
I can solve for them?
If they don't, then that's fine, you can.
You can keep chatting or youcan move on, but you can't go in
(35:33):
for the hard sell because itjust yeah, it just leaves you up
, shakes creek, it does, it does.
Marc Matthews (35:39):
I've had there's like yourself.
I don't really get them anymore, uh, but I did.
I remember.
It's notably really whenever Irelease music of my own and then
sort of these people sort ofcrawl out the woodwork, as it
were, offering XYZ service.
A lot of mastering engineers dothat, I find.
Eliott Glinn (35:56):
That's a shame as well, because mastering, out of
all of it, is one of the mostrelationship-based kind of
businesses as well.
So for people to kind of jumpin straight away and be like, oh
, I can master your stuff foryou, you know, race to the
bottom, I'm like 20 quid for amaster.
It's just like I wouldn't trustyou.
I wouldn't trust you.
You haven't even bothered tokind of have a chat with me and
(36:17):
figure out what kind of music Imake.
If I'm looking for a master andengineer, you know they just go
for the hard sell and yeah,they're just they're shooting
themselves in the foot yeah,that race to the bottom one.
Marc Matthews (36:27):
I could probably do a whole episode on that.
Some of the some of the race tothe bottom stories I've I've
experienced and you probablyexperienced yourself as well.
Eliott Glinn (36:35):
It's crazy yeah, crazy it's, it's sad and I think
it's unfortunate that there's,you know, websites like fiverr
and sound better and air gigs.
They're great if you're juststarting out and you want to
kind of get your feet wet andand get projects and stuff, but
all anybody is looking for isthe cheapest option on those
websites, which is why I'm noton them.
You know, I think I set aprofile years ago on sound
(36:57):
better, um and the similar thingwith air gigs, but I never get
any work through them and Idon't really want to, because I
want to have a relationship withall of my clients, I want to
get to know them, I want to jumpon phone calls with them and
talk through stuff and I want toprovide a service that they're
happy paying you know more of apremium for and you're not going
to get that through websiteslike Fiverr or Soundbetter.
(37:17):
It's going to be send, send thefiles, receive them back and
that's it.
No communication, no care given.
It's just like an exchange,which is not really how art
should be made.
Marc Matthews (37:27):
I totally agree.
There needs to be thatcollaborative collaborative
process and that communicationconversation to.
I think, most importantly goingback to what you said right
right at the beginning of thatwith regards to the cold dms is
establishing whether or notyou're a good fit, like just
just reaching out to someone andsaying I'll do X, y Z for you.
How do you know it's going tobe a good fit without having
(37:47):
that conversation?
So and that kind of seguesnicely onto this final bit.
So I'll be doing you adisservice, elliot, if I didn't
offer you the opportunity, orgive you the opportunity rather,
to just describe a little bitabout what you're doing and what
you provide, find you, andmaybe, if you've got some
exciting thing or somethingcoming up, maybe you could
reveal to the audience, if notjust like what you're doing
(38:08):
where they can find you yeah,absolutely so the best place
would be on instagram.
Eliott Glinn (38:11):
My handle is elliot glinn audio.
Um, elliot is spellede-l-i-o-t-t, glinn, g-l-i-n-n.
It's a bit of a weird spelling,but yeah, elliot glinn audio.
Same thing for my website, um,but on there as well.
I'm just setting up.
Now.
I'm in the process of creatinga community for people who want
to learn how to mix as well,because, oh nice, a big part of
my journey as a mix engineercoming up was being in this
community where we got sentmulti-tracks every month.
(38:33):
Um, you know, we were shown howthe mixer walked through the
mix and did all of his tweaks,and then there was a monthly q
a's.
So I'm in the process ofgetting something similar set up
.
So if anyone's interested aboutjoining that, then go to the
link in my bio on my Instagram.
There's a button in there it'scalled learn to mix and you can
join the waitlist.
But yeah, I'd love to connectwith anybody they want to talk
business, want to talk mixing,anything like that.
(38:55):
Just drop me a DM on Instagramand I'll be happy to chat.
Fantastic stuff.
Marc Matthews (38:59):
I will put a link to the Instagram and also your
website in the episodedescription.
So, audience, please do go andcheck out Elliot's Instagram and
the website as well, and ifyou're interested in content
creation, do go check out,obviously, instagram, because
that's where you're going tofind it, because there's some
great stuff on there, somereally good B-roll content.
Yeah, I've got to say that Somereally good stuff in there.
(39:19):
Elliot, it's been a pleasurechatting with you today with
regards to all things sort ofbusiness and in the music
industry and whatnot.
So hopefully this is going toset the audience up if they're
thinking about kicking on withtheir own services in 2025 or
whatever year.
They're listening to this andthen, yeah, they're going to get
a lot out of this.
So a big thank you for joiningme on this today.
Oh, it's my pleasure.
Thanks for having me on, mark.
I appreciate it.
(39:50):
Cheers, buddy.
I'll catch up with you soon.
Folks, before you go, I want tohear from you.
I want to know your favoriteepisode of the Inside the Mix
podcast.
Alternatively, you could justreview this episode.
Click the SpeakPipe link in theepisode description and you can
record an audio messagedetailing your favorite episode
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(40:12):
As soon as I get your audio,you will be entered in that
month's draw to win a Starbuckscoffee voucher, and if you don't
like coffee, just give it tosomeone else and pretend that
you bought it for them.
All you need to do is clickthat speak pipe link and send me
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and give yourself a shout out.
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